A forthcoming exhibition and its catalog examine the art of the Old Masters in seventeenth- and eighteenth-century Genoa.
Yale University Art Gallery has brought together two dozen objects connected to the rich cultural history of that maritime trade for an intriguing show: Japan’s Global Baroque, 1550–1650.
In the closing years of the seventeenth century, Cristóbal de Villalpando was, in all likelihood, the best-known painter in the New World—and most of us have never heard of him.
A rather depressing article appeared recently in the New York Times concerning a steep and sudden decline in the market for old master paintings. “At a time when contemporary art is all the rage among collectors, viewers, and donors,” Robin Pogrebin wrote, “many experts are questioning whether old master artwork—once the most coveted—can stay relevant at auction houses, galleries, and museums.” There can be a no more thunderous rebuttal to the notion that old masters are irrelevant than the new exhibition of Valentin de Boulogne at the Metropolitan Museum of Art.
By Joan DeJean Neptune and Triton by Gian Lorenzo Bernini, c. 1622– 1623, as installed in the newly reopened Europe 1600–1815 galleries at the V&A. Except as noted, all images © Victoria and Albert Museum, London. In December 2015 the Victoria and Albert Museum’s European galleries were opened to the public for the first time in nearly …
An exploration of Medieval art in London and Bruges